what life givesEggshells, corrugated paper, found glass • 8'h x 10'w x 10'd
©2009 ROSE CLANCY
what life gives existed for three days as a site specific installation at The First Pittsburgh Visionary Arts Festival. Over the course of 27 hours, what life gives was open to foot traffic. Over 700 people walked through the installation, transforming a sea of jagged eggshell halves into a bed of softness that no longer maintained it’s identity as eggshells.
what life gives visually expressed my feelings about the difficulty of life’s journey and of the beauty found along the way. There is something inside of me that keeps me going. Often I do not know what that something is, I am just thankful that it is.
photo courtesy of Joey Kennedy
it doesn’t take much to make me happy
Almost every morning I have scrambled eggs (4 whites/1 yolk) for breakfast. This practice started several years ago when I went on a high protein, low carb diet. And for almost as long, I have been saving my eggshells and using them as a material in my work. For my latest project, a site-specific installation, I thought that surely surely I had saved enough eggshells for the project. But when I constructed a full size layout of this project in my studio, I found that I was short, at least 40% of the total amount of eggshells that I would need. So I contacted my friends, and although many of them have contributed in very generous ways, it soon became apparent that I needed to find a source that could provide a large quantity of eggshells rather quickly. So I hit up a few “breakfast places”. The first two places that I approached did not understand my eggshell need, and gave me that funny “I think that you might be a bit crazy” look. I felt defeated after these rejections and decided to give up on my quest. That night I did not sleep well at all — I could not stop thinking about eggshells. I knew there had to be a source and I just had to find it. So the next day, armed with a new sense of courage, I sat down at the counter of a local breakfast place and ordered 2 eggs over-easy. I watched as the cook cracked egg after egg and thought about how much I needed those egg shells. So I struck-up a conversation with the cook (Jimmy). I told him that I was an artist and that I use eggshells in my work. He didn’t look at me like I was crazy — instead he asked me about how I use the eggshells. So long story short, I found my source for eggshells at this diner and every day (for a week now), I stop by late in the afternoon and am greeted not only with a huge bag of eggshells, but the smiling faces of all the workers in this diner who think that it’s really cool that I am using their egg shells in my work.
studio / summer 2009 / work in progress for the upcoming Pittsburgh Visionary Arts Festival / August 7, 8 and 9
studio / summer 2009 / work process
a bright blue cotton dress revisited (work in progress 2009)
A friend of mine gave me this dress form and a big box of blue and green surging thread. I looked at the thread cones and wondered how I could turn these cones of thread into a material that I could use to make art. I separated the cones by color and took inventory. Five cones of bright blue sat off by themselves on the table... and I thought “five strands into one... yeah, I can do something with that” , then my eyes traveled to the dress form and I knew what I would do. I will make a dress.
The first step is crocheting, and that is where I am now.
studio / summer 2009 / former living things
“when it rains” · layered paper (work in progress)
I will see you in the GardenLayered paper; paper clay, tomato plants, dirt and eggshells • 34"h x 51"w x 17"d
©2008 ROSE CLANCY
day one · 7 JUNE 2008
Opening day of the garden. Public reception and garden blessing
the placing of the plants · 7 JUNE 2008
My sister Peggy and I placed the tomato plants that symbolize ourselves and our siblings upon a paper framework that represented our mother’s lifelong mental illness of major depression.
blessing of the garden · 7 JUNE 2008
I smudged sage in this blessing of the garden. Sage is used to remove negative energy and to provide a fresh start.
A special thanks goes out to Tom Sarver for documenting the opening of the garden and for providing video footage of the event.
I will see you in the GardenLayered paper; paper clay, tomato plants, dirt and eggshells • 34"h x 51"w x 17"d
©2008 ROSE CLANCY
day three · 9 JUNE 2008
Seven of the eight tomato plants fell after an evening of heavy rain. Five plants fell as expected and landed directly below their starting points. Two plants fell in a way where they hit the framework and rolled outside of the good dirt growing area into an area of poor dirt.
I will see you in the GardenLayered paper; paper clay, tomato plants, dirt and eggshells • 34"h x 51"w x 17"d
©2008 ROSE CLANCY
day three · 9 JUNE 2008
Watering the grass and making mini rainbows.
I will see you in the GardenLayered paper; paper clay, tomato plants, dirt and eggshells • 34"h x 51"w x 17"d
©2008 ROSE CLANCY
day thirty-nine · 16 JULY 2008
I will see you in the GardenLayered paper; paper clay, tomato plants, dirt and eggshells • 34"h x 51"w x 17"d
©2008 ROSE CLANCY
day one eleven · 26 SEPT 2008
tomato plant removal and garden clean-up
if I listened to my own advise...
I would document events as they happen and this blog would be current.
I knew that I was neglecting my blog — not because I had become lazy or disinterested in blogging, but because the subject matter of my previous entry changed the direction of my work in a major and in an unexpected way.
With a bright blue cotton dress, I exposed the personal pain of my relationship with my mother and her mental illness in a very public way. And in the process of doing so, I found that I was not alone. I found that the world around me was full of people who needed an outlet for the pain that they themselves were carrying relating to the subject of mental illness within their family or within themselves.
a bright blue cotton dress also marks a change in my thinking as to the materials I use for creative expression. In previous works, paper was my primary medium and the former title of this blog reflected it. While I still like the original title (In my first life, I was an egg carton), this title just isn’t appropriate to the expression or philosophy of my current work.
Now to catch up. The only way I think that I can do this is to start posting as if I hadn’t taken a year and a half long hiatus. But first, I need to take myself back to January of 2008 and gather my thoughts...
a bright blue cotton dressMixed Media; plastic, wood, candles, paper, glass • 13"h x 18"w x 8"d
©2007 ROSE CLANCY
a bright blue cotton dress is a retrospective examination of my experience as a child of a mother who suffered throughout her life with the untreated mental illness of major depression. This examination is realized in the form of a “paperless” sculptural scrolling book. The images are silk screened onto acetate and housed inside the pockets of a roll of salvaged clear plastic packing material that scrolls between two glass candlesticks. Corrugated paper and wood were used to create the mechanical movement and the base.
The narrative: she did not know that she was falling apart as her thoughts unraveled and twisted themselves into a tangle of confusion like that of a thousand spools of unwound thread / desperately she cried out for a savior as she was swallowed by the black sea of depression, unable to grasp the hands that reached out to her / paranoia played her like a puppet depleting her soul of love and trust, leaving only a shell, a hollow void where the stranger that I did not recognize and could not love, came to reside / anxiety was the air in her lungs and it was the only thing with her as she took her last breath / like a bright blue cotton dress washed to an empty gray, she slowly faded and disappeared
As a young child, my Mother taught me about beauty, trust and love. Then, mental illness stepped in and changed everything. I watched as layers of psychotic thought clouded her sense of reality and buried her so deeply that I could not see her. While I have put the experience of her illness into a logical perspective, there is a painful sadness associated with this experience that logical thinking doesn’t address. The sadness of why. Why did this illness happen to my Mother — why does it happen to anyone?
It is my hope that by expressing my feelings through this book, others will find positive ways to express and release similar feelings — feelings that shouldn’t be held inside one’s self.
BALLERINA IN THE BARN
stepping out of the shadows
Mixed Media; plaster, wood, paper • 20"h x 12"w x 6"d
©2007 ROSE CLANCY
Is it any wonder that I stand in the shadows watching your world as it parades by with it’s insults, injury, chaos and pain? Is it any wonder that I keep my back against the wall and my heart safely tucked away where your world cannot touch it? Is it any wonder?
The ballerina has been in my life since I was fifteen. She lived in the barn at my parent’s farm. Originally she was a lamp that belonged to the previous owners’ of the farm. They left her behind when they moved, saying they would come back for her. They never did. I watched as over the years, her metal lamp parts rusted and disintegrated, her paint bled and peeled. She lost an arm, then another — but her hands remained intact, still holding the promise of tomorrow in a bouquet of five roses. Every time I walked past her, she seemed to call out to me to rescue her from this neglect, but I did nothing to save her, she was not mine.
On a visit to the farm, ten years or so ago, I noticed that she had new damage. Broken just above her ankles, she was separated from her base. I realized at that moment that I was the only one in the world that cared about this ballerina and that she belonged to me. I took her home and placed her a bright corner among a few houseplants. But, she always seemed out of place there, like a fish out of water.
It wasn’t until my neighbors cleaned out their basement and hauled a mountain of trash out to the curb on trash day, that the ballerina became complete once more. A painted wooden drawer on the top of their trash pile caught my eye. I knew immediately it was meant to house the ballerina. Placing the ballerina in the drawer put her back into the setting of the darkness of the barn. The place where she existed and was neglected for so long.
She has come full circle. Surviving harsh conditions that broke her, she somehow managed to hold onto her beauty and has become whole again. She no longer exists in the shadows, she is stepping out and ready to tell her story.
THREE OPENINGS, ONE NIGHTone) Artist Made Books
www.tommuseum.comThe Tom Museum / 410 Sampsonia Way / Pittsburgh, PA 15212
through December 31, 2007
Opening Reception • December 8, 2007 7-10pm
a bright blue cotton dress
two) deck your walls
www.moxiedada.commoxieDaDa @ the firehouse / 1416 Arch Street / Pittsburgh, PA 15212
December 8 through 23, 2007
Opening Reception • December 8, 2007 6-8pm
Inner Sunrise
within without
Changing Direction
no Sand in my Sandals, no Stones in my Shoes
Included in this Holiday Exhibition at moxieDaDa are four works that sum up my journey through the past six years of my life. A time of acceptance, self examination, realization and change.
three) The Blogger Show
diggingpitt.comDigging Pitt Gallery / 4417 Butler Street / Pittsburgh, PA 15201
November 10, 2007 through January 12, 2008
Public Reception • December 8, 2007 6-9pm
The Evolution of Heat
Sacrificial Tree
Both works, The Evolution of Heat and Sacrificial Tree, express my concern for the health of the environment that we live in. The destruction of our planet by the human hand is so overwhelmingly evident — yet there seems to be an attitude of apathetic detachment towards this reality by a large percentage of our population.
My message: Take care of the Earth, not just for today, but for all days.
Be responsible for the world you leave behind.
THE BLOGGER SHOW
thebloggershow.diggingpitt.comDigging Pitt Gallery • 4417 Butler Street • Pittsburgh, PA 15201
November 10, 2007 — January 12, 2008
Public Reception • December 8, 2007 6-9pm
The Evolution of Heat
Sacrificial Tree
Agni Gallery • 170 East 2nd Street • New York, NY 10009
November 1, 2007 — November 30, 2007
Public Reception • November 3, 2007 6-9pm
this box that I am
When John Morris first told me about his thoughts for an exhibition of artists who have blogs, I liked the idea. When he asked me to be a part of the show, I was honored — but wasn’t sure if I could be considered a serious blogger.
I use my blog as a personal journal, a place to examine my feelings about the work I create. I find that presenting myself in this public forum forces me to attach words to my feelings. Expressing myself verbally isn’t something that comes naturally to me, it is work.
What I have realized about myself through my blogging experience is that I can express myself verbally. I have found that identifying the right words to express my feelings becomes easier with each post. Of course, this spills out into my everyday life, giving me a verbal confidence I didn’t have before.
A note of thanks goes out to Kevin Clancy, David Pohl and Elizabeth Perry — fellow bloggers who’s blogs who inspired me to venture into this realm. I think it’s pretty cool that they are also a part of The Blogger Show.
EVOLUTION of HEAT • Paper Maché and Found Glass Shards • 8"h x 18"w x 12"d
©2007 ROSE CLANCY
Evolution of Heat is a response to my thoughts on the incredible amount of broken and discarded glass I came upon while walking along a local stream. The logic behind throwing trash into our waterways has always escaped me. I don’t get the flippant “out of sight, out of mind” attitude. As I picked up each piece of glass littering the shoreline, I couldn't help but to think about the person(s) responsible for placing it there. Did they think that the discarded glass was going to magically melt back into the Earth? Sadly, I doubt if their thoughts went any further than “out of sight..”
A TRYST WITH GLASS
Pittsburgh Center for the Arts • 6300 Fifth Avenue • Pittsburgh, PA 15232
November 16, 2007 — January 20, 2008
Opening Reception • November 16, 2007 5:30-8pm
The Wisdom of the Melting Ice Caps
The Sun Took Back the Earth
THE WISDOM OF THE MELTING
ICE CAPS
Paper Maché and Reclaimed Found Glass
20.5"h x 5.25" diameter • ©2007 ROSE CLANCY
There are prophets among us.
Whether global warming is due to humankind’s abuse of the environment that they rely on for their existence, a naturally occurring cycle, or a combination of both — it is happening. I have little patience for those who want to sit around and debate the issue and place blame somewhere other than on themselves — we are all guilty.
The glass used in this piece was found along the banks of a local stream. The ‘logic’ behind throwing trash into our waterways has always escaped me. As I picked up each piece of glass I couldn’t help but to think about the hand responsible for placing it there.
I think it’s time for each of us to really examine what we as individuals are doing to the environment we live in. The wait until tomorrow attitude has to go.
There is a prophet among us. This prophet is speaking in signs and she is speaking loud and clear. It would be wise for the human race to listen to the wisdom of the melting ice caps.
experimental burn: session one
The two things that I have been wanting to do to finished paper maché pieces are the two things that one shouldn’t do to finished paper maché pieces — expose them to fire and expose them to water.
My expectations of the first experimental burning session were to 1) learn how to burn a piece without completely destroying it, and 2) observe the effect heat has on the strength of the medium. What I received from this experience was so much more.
This vessel in the photo above is one of my first works in paper maché. Although I liked a lot of aspects about this piece, I never really liked it as a whole and it sat on a shelf in my basement for the past five years. This piece was a perfect subject for my first burning session. I had no intention of trying to salvage it from complete destruction, but as this piece burned, I observed beautiful things happened to it’s surface. I pulled it from the fire and extinguished the flames. It sits once again on the shelf, with a renewed life. I don’t see this piece becoming a finished work, but it is the seed for future works.
Another piece I burned was a teapot shaped vessel with a long spout. My intention with burning this piece was basically to see how long it would take the maché to ignite and be destroyed. Now this piece was really interesting to watch as it burned. I placed the vessel directly on hot embers. As the embers heated up the bottom of the vessel, small flames licked about it’s base and smoke billowed out of the spout profusely — the movement of the smoke was amazing. I plan on experimenting further with vessels with spouts and burning. Next time I plan on filming the experience.
My intent with this piece was to burn it — just around the edges. I had a clear vision of what I wanted to do. Since I had experimented with burning a few pieces before this one, I thought I could achieve this rather easily. But that was not the way it was to be. This piece was comprised of two sections joined together. As this piece burned, the two sections separated from each other (heat expands) and started burning at different rates. At this point I pulled both sections from the fire and doused them with water. It was then that I realized my initial vision wasn’t going to work — but that something even better had happened. The bottom piece (what was the original base and on the left side of this image) had achieved a wonderful patina and it’s form called out to exist on it’s own. The top piece having lost it’s sculptural potential became fuel for my next session of experimentation with fire.
SACRIFICIAL TREE • Paper Maché & Twigs
16"h x 8"diameter • ©2007 ROSE CLANCYSacrificial Tree reflects my concern for the our environment and the world we will leave for our descendants. This piece is my visual response to the large tracks of land being ‘developed’ in Southwestern Pennsylvania. Acres upon acres of wooded land are being completely stripped of their vegetation. In their place, housing plans spring up overnight with manicured lawns, a few flowering dogwoods and maybe a pin oak or two.
With all the warnings about the health of our planet, I am amazed that humans continue sacrificing Nature for short-term economic gain — and that there is so little regard for the Earth that we are leaving for future generations.
SACRED ARTBoxheart Gallery • 4523 Liberty Avenue • Pittsburgh, PA 15224
July 24 — August 18, 2007
Public Reception • July 28, 2007 6-9pm
Sacrificial Tree
no Sand in my Sandals, no Stones in my Shoes
sacred is every second of every minute of every hour of every day
sacred is the tread of time connecting all things all places all times
sacred is knowing my today is being woven into the tapestry of another’s tomorrow
no Sand in my Sandals, no Stones in my Shoes
Paper Maché & Twigs • 12.5"h x 9.5"w x 7"d ©2007 ROSE CLANCY
I consider no Sand in my Sandals, no Stones in my Shoes to be a self-portrait that recognizes an important pivotal point in my life. It is a reflection on the final closing of the door to the negative yesterdays that overshadowed the promise of my tomorrows. When I was finally able to close this door, I started to experience a new sense of joy in being alive.
The hardest part was closing the door.
this box that I am • Paper Maché Corrugated Paper, Wood and Fiber
8"h x 16"w x 16"d • ©2007 ROSE CLANCY
After years of searching for answers outside of this box that I am, my journey brought me back to square one, where I forced to take a good look at myself. What I saw was a rather closed-up box burdened with the unanswered questions I had been carrying for years. I had build thick walls around myself for protection and pulled the lid down tight. I allowed few to see who I truly was.
Armed with this reflection, I had two choices. I could avoid the reality of the box and continue to travel in the circle of unanswered questions, or I could take the lid off and look inside. I chose the later.
What I found contained within this box was the true essence of myself and the dreams that I had safely locked away a long time ago. As I gazed to the center, I saw in my eyes the self I had forgotten. It was then that I realized some questions just may not have answers. To demand answers was fruitless. I also realized that I had selfishly hidden away parts of me that I was to share with others.
In response to this reflection, I have discarded the lid to this box that I am. I have opened up the corners for access to pathways, both for myself and for others. I realize that the years of searching weren’t in vain — those years had built a stronger foundation than that of which I was given. I am now traveling upon the path that was always there, a path I shied away from, the path that was intended for me.
it’s been a while... This past year has been an extremely busy one for me. Taking care of life’s business took center stage — every time I thought I had time to focus on my work in maché, something else seemed to require my attention.
I have been working though, in bits and pieces. The studio is full of work in progress with a few pieces nearing completion.
Change is constant. The ideas I have for future works are branching off in new directions. I am excited to start this new work... but before I do, the studio needs an overhaul. (Too much stuff.) My wealth of salvaged materials is being assessed and reorganized. I’m cleaning out the closets...
(the best) RAW MATERIAL
Recycled paper egg cartons are the primary ingredient in my maché recipe. I have found that this is simply the best material to use. The
long fibers in egg cartons make the maché strong and durable.
You may be thinking that I must eat an incredible amount of eggs —
well — yes and no. The majority of the egg cartons come from family and friends. I am usually greeted by a bag full of egg cartons when I visit friends. Often I find donated egg cartons outside my front door. This always makes me smile — not only are people showing support for my work, but they are also showing support for recycling efforts.
An underlying but very important theme to my work is concern for
the Earth. What is happening to our environment scares me. I hope to encourage others to think about their impact on the environment.
work in progress • Paper Maché and fiber
©2006 ROSE CLANCYSerendipity. Often, as I work on a piece of sculpture the form evolves on it’s own. I had a particular shape in mind when starting this piece, but as I sewed the sections together another shape revealed itself.
WHAT ONCE WAS (work in progress) • Paper Maché + Fiber
©2006 ROSE CLANCY
Many years ago I had a dream in which I found a hidden room in my maternal Grandmother’s home. This room was a combination of souvenir gift shop, art gallery and museum, which was filled with Native American items. As I walked through the room I saw paintings, vessels, tools and sculpture. One sculpture stood out — a bust of a young Native American woman cast in clear glass. Her long hair swept down over her left shoulder and across her body to the right, as if she were standing
in a strong wind.
A few years ago my older sister was involved with a research project looking at genetic markers in DNA. When she receive the final data about her DNA, an unexpected thing showed up. She carries a marker unique to Native Americans. When she told me about it, my first thought was ‘that explains the dream’. My sister and I may never identify this ancestor as there aren’t written records, and any ancestors who might have knowledge of her are long gone.
Sometimes, things just happen. As I played with several dried maché shapes to see how they interacted with each other, this arrangement formed in my hands. I was pretty much blown away — it was as if the sculpture from my dream had come to life in these pieces of maché. This feeling has not dissipated at all, it has grown stronger. Everytime I look at this piece I feel something that I can’t quite explain — an invisible connection, a sense of knowing, a sense of love.
I think I will call her Catherine.
INNER SUNRISE • Paper Maché • 10.5"h x 13"w x 10"d
©2005 ROSE CLANCYThe winds of acceptance have swept the clouds away.
CONSONANCE • Paper Maché • 9"h x 9"diameter
©2006 ROSE CLANCYIn the final stages of completion of this piece, I reflected
upon what it was actually saying to myself and to others.
What I saw as an expression of the process of blossoming,
my son saw as the process of collapse. Upon further reflection — I realized it is both. This piece is about the struggle and will to bloom through
periods of difficulty. Struggle and will exist in repetitive
harmony.
OBSTACLES GIVE DIRECTION TO THE JOURNEY
SUNSCAPES • Paper Maché, Found Objects • 6" x 6"©2006 ROSE CLANCYIf I had a tale that I could tell you
I’d tell a tale sure to make you smile
If I had a wish that I could wish for you
I’d make a wish to sunshine all the while
— John Denver, Sunshine on my Shoulders
SUMMER NEST (Interior) • Paper Maché • 2.5"h x 5" diameter
©2005 ROSE CLANCY
JEWELRY • necklaces and pins • Paper Maché
©2005 ROSE CLANCY
WITHIN•WITHOUT • Paper Maché • 10"h x 13"diameter
©2005 ROSE CLANCY
I am often surprised by thoughts that surface while creating art.
In this case a refrain from a song repeated itself over and over
again in the background of my mind — it was small and quiet —
“this little light of mine, I’m gonna let it shine...”
This piece is about the message of those words. It’s about
reaching the point where one becomes comfortable with the
releasing of their inner self (WITHIN) to be a part of the universe
for the benefit of others (WITHOUT).
WHAT WE ARE IS A GIFT TO OTHERS, WHEN WE CHOOSE TO GIVE
CHANGING DIRECTION • Paper Maché • 18" x 21"
©2005 ROSE CLANCY
The first realization of this piece was as a round mirror with a
square frame. Unhappy with the proportions, it sat in my studio
for almost a year. Then one morning in an impulsive mood
(and before caffeine), I took it to the workbench, grabbed
a handsaw and went crazy. This is the result and I am much
happier. Sometimes a change in direction is the answer.
This piece has multiple hanging options.
TOGETHER ALONE • Paper Maché on Wood • 6"h x 6"w
©2006 ROSE CLANCY
For Peggy.
BASKING in the SUN • Paper Maché • 10"h x 11"w x 6.5"d
©2005 ROSE CLANCY
WATCHING OVER THERESA • Paper Maché • 26"h x 24"w x 17.5"d
©2005 ROSE CLANCY
Theresa’s two angels — Edward and Aunt Rosie Commissioned tabletop reclamation
STUDIO TABLE • Paper Maché • 48"diameter with 12"leaf
©2006 ROSE CLANCYTabletop reclamation — work in progress. The maché is dry,
ready for sanding and paint.
AFTERNOON TEA • Paper Maché • 4"h x 9.25"diameter©2006 ROSE CLANCY
A reflection on the relationship between close friends.
The open shape of this piece represents open arms, heart
and mind — and of the spirit of freedom that comes with trust.
The edge represents the path walked together — of sunshine,
rain, yesterday, today and tomorrow.
The pattern inside, same on the outside, represents similarity —
and of the beauty of knowing the pure goodness of another’s soul.
The color represents the contrasting difference of individuals
and how that contrast compliments and supports.
THE MENDING HEART • Paper Maché • 12"h x 12"w x 6"d
©2004 ROSE CLANCY
CONVERSATION • Paper Maché, Layered Paper • 4.25"h x 10.5"w x 6"d at the BALLET
©2005 ROSE CLANCY
WEIGHT of the WORLD • Paper Maché • 4.25"h x 9.25"diameter
©2003 ROSE CLANCYHeavy when carried alone...
ASCENT • Paper Maché • 14"h x 10"w x 7"d
©2006 ROSE CLANCYA reflection on life’s journey — so far.
THE CONSTANT BETWEEN • Paper Maché • 7"h x 13" diameterANCESTORS and DESCENDANTS
©2002 ROSE CLANCYJust as we walk the Earth left by our ancestors,
our descendants will walk the Earth left by us.
Take care of the Earth not just for today, but for every day.
STUDIO CATS • Paper Maché • Life-size
©2002 ROSE CLANCY
BLUE WILLOW • Layered Paper • 4"h x 8"diameter
©2002 ROSE CLANCY
COPPER LEAF • Paper Maché • 12"h x 7"diameter
©2002 ROSE CLANCY
TULIP MOSAIC • Paper Maché, Layered Paper • 9"h x 18"w x 9"d
©2002 ROSE CLANCY
FAITH MOSAIC • Paper Maché, Layered Paper • 6"h x 10"w x 5"d
©2002 ROSE CLANCYAll alone in the universe
Sometimes that’s how it seems
I get lost in the sadness, and in the screams
Then I look to center, suddenly everything’s clear
I find myself in the sunshine, and in my dreams
—John Denver, Looking for Space
what life gives
photo courtesy of Joey Kennedy
