Sunday, February 7, 2016

A Poem for the New Hampshire Primary

What is going on in New Hampshire and which politicians will walk away with the most  coveted delegates?  I am watching this process with forced detachment this year to keep my nerves from over-reacting too early in the race.  The issues of our nation and world are so dense, so immense, yet the usual lies dominate the conversations.  During yet another political debate last night, this one in New Hampshire, I watched as a few truths and a lot more lies dominated the stage.  In fact I decided to revisit this poem I wrote in another election cycle...

The Liars

What are the liars thinking
When they are moving their lips?
Do their words get jammed
Stuck on the frozen roofs
Of their blocked jaws
Or does it get easier
To lob them ever?
Naturally after a good match like
Mercury in a tennis ball or a lightning dash
For your messenger to leave its tongue
Your referee to signal
The moment of a cure time
A sigh maybe you just need
To take another good deep breath
A nap before your turn
To serve again.
Let it out
The lies and all the rest
Then try to teach your children
To distinguish
Between the white lines you made
Before the
And, and all the rest
You said
You never said.

c. Triada Samaras 2009/2016

Sex, Death, and the Planet

ALL INVITED WED. FEBRUARY 10 see details below 

Moderated by Bonnie Webber

How Population Impacts Climate Change

Elizabeth Burleson, Burleson Institute & Legal Advisor for 
IUCN to the Climate Talks - Population and Water/Environment
Mark Harris, author of Grave Matters: A Journey To A Natural Way of Burial
David Leven, Executive Director of End Of Life Choices New York.  He will speak about pending legislation in Albany regarding end of life decisions.

DATE: Wednesday, February 10
TIME: 6:30 PM Refreshments and Networking, Program 7 PM
PLACE: Seafarers and International House - 123 East 15th Street, corner Irving Pl. Manhattan
Donations Welcome !

Subways: 4/5/N/Q/R/ Union Square Station 

Chris Ann Farhood/ Sky, Farm Table- Paintings

A February Treat!
It is my great pleasure to present an exhibition of paintings  by artist, Chris Ann Farhood, who has been both a friend and creative colleague for several years. Farhood works in oil on canvas and is inspired by New York City local farmers' markets.  The results are paintings with a sumptuous palette and evocative forms.
Farhood's works are on display at: 
Pisticci Restuarant on 125 LaSalle St. in NY, NY 10027 
SHOW RUNS:  November 14, 2015-April 9, 2016
One can feast on homemade Italian cuisine while gazing at these inspiring works. 


"While I still love to chase the light and color in a landscape, my recent works have been inspired by the lush bounty I see in the ever-expanding local farmers’ markets. I admire the farmers’ pursuit of an ancient tradition, and their desire to enrich our lives while preserving venerable species and products. I delight in the organic shapes, the gorgeous colors and the distinctive tastes, and seek to celebrate the beauty of Nature and the tenacity of the farmer in today’s ever-changing world."
Chris Ann Farhood
New York, NY
917 880 8696


Saturday, February 6, 2016

Recovering as a painter and a self

Uncover: I just realized that when I began my large painting (below) I was in a very different emotional state.  This painting began as an acrylic painting using a short poem I wrote.  The early image reminded me of a figure with wings and I was not happy with that direction, especially the symmetry of the top section.

below:  Untitled Acrylic on Canvas  4' x 6' Triada Samaras 2015
A figure with wings?

Next it became an exploding  figure mirroring my emotional self at that time.  Recently I could not finish what I had started because I am much calmer now and more integrated.  I loved the old image and might try to re-do it, but it was a disturbing to engage with. It felt impossible to live with it any longer as I am out of the place right now.  

above:  Untitled Acrylic on Canvas  4' x 6' Triada Samaras 2015
Exploding figure phase.

above: Untitled Acrylic on Canvas  4' x 6' Triada Samaras 2015
The right arm disappears.

above right:  Untitled Oil on Canvas  4' x 6' Triada Samaras 2015
An oval emerges. The figure disappears.

Then I switched to oil paint, frustrated with the feeling of the acrylics.  And the smell.  Recently the painting changed direction completely   It has become self-contained: an oval shape, holding all the chaos that was formerly coming out of the human form (myself).  I can see the direct effects of my recovery on my art and part of the process is letting new things happen that replace the old ones.  But I question whether I should have let the old image go in purely visual terms. The oval does not convey the same excitement.  At least not yet that is. I need to get the figure back.  

above:  detail Untitled Oil on Canvas  4' x 6' Triada Samaras 2015
A detail.

right:  Untitled Oil on Canvas  4' x 6' Triada Samaras 2016

The figure begins to re-appear.

Each successive change in my canvas marks a shift in consciousness.  Unlike acrylic paint, oil paint has a mind of its own.  I like that aspect: the fact that the paint can decide on its own even if I can not.  It is like the undertones and overtones of a beautiful piece of piano music. Schumann and Chopin come to mind.  All the things the composer perhaps never anticipated, the breathing sounds of the players, the creaks and shifts in the instruments.  These things take on a life of their own.  And with oil paint the same thing happens. The brush strokes' direction, the tiny shifts in color, all take on a life of their own.  

                                            above:  Untitled Oil on Canvas  4' x 6' Triada Samaras 2016
                                                                         The hand re-appears.

The most recent version is above, although the image is cropped.  This painting is extremely hard to photograph as each separate light source changes the image immensely.  I think that is part of its beauty however.  In this digital age when a beautiful and seemingly perfect  image is available at the tip of any person's single fingertip, the oil on canvas art object gains status in its camera shyness.  It calls the viewer, perhaps, to want to view the image in a real and tangible world of body and object, breath and light.

At this moment the hand on the top right is still bothering me and I can not decide if it will remain there or not.  It was certainly a part of the original image.  But as I have already said so much has changed..........  T.S.